Chapter 1.25, Verses 23–32

Yoga Vashishtha 1.25.23–32

(The illusory Noose of Time)

श्रीराम उवाच ।

एकस्मिञ्छ्रवणे दीप्ता हिमवानस्थिमुद्रिका ।

अपरे च महामेरुः कान्ता काञ्चनकर्णिका ॥ २३ ॥

अत्रैव कुण्डले लोले चन्द्रार्कौ गण्डमण्डले।

लोकालोकाचलश्रेणी सर्वतः कटिमेखला ॥ २४ ॥

इतश्चेतश्च गच्छन्ती विद्युद्वलयकर्णिका।

अनिलान्दोलिता भाति नीरदांशुकपट्टिका ॥ २५ ॥

मुसलैः पट्टिशैः प्रासैः शूलैस्तोमरमुद्गरैः।

तीक्ष्णैः क्षीणजगद्वान्तकृतान्तैरिव संभृतैः ॥ २६ ॥

संसारबन्धनादीर्घे पाशे कालकरच्युते।

शेषभोगमहासूत्रप्रोते मालास्य शोभते ॥ २७ ॥

जीवोल्लसन्मकरिकारत्नतेजोभिरुज्ज्वला ।

सप्ताब्धिकङ्कणश्रेणी भुजयोरस्य भूषणम् ॥ २८ ॥

व्यवहारमहावर्ता सुखदुःखपरम्परा ।

रजःपूर्णतमःश्यामा रोमाली तस्य राजते ॥ २९ ॥

एवंप्रायः स कल्पान्ते कृतान्तस्ताण्डवोद्भवाम् ।

उपसंहृत्य नृत्येहां सृष्ट्वा सह महेश्वरम् ॥ ३० ॥

पुनर्लास्यमयीं नृत्यलीलां सर्गस्वरूपिणीम् ।

तनोतीमां जराशोकदुःखाभिभवभूषिताम् ॥ ३१॥

भूयः करोति भुवनानि वनान्तराणि लोकान्तराणि जनजालककल्पनां च ।

आचारचारुकलनामचलां चलां च पङ्काद्यथार्भकजनो रचनामखिन्नः ॥ ३२॥

Sriram said:

23. "In a single moment of hearing, a dazzling vision appeared: a shining ring of bones formed like the Himalayas, and on another side, a magnificent Meru, with delicate earrings made of gold."

24. "In the swaying loops of those earrings, the sun and the moon shone on the cheeks like ornaments, while the entire range of Lokāloka mountains formed a glowing girdle around the waist."

25. "Dancing in all directions, the lightning-like earrings glimmered as if set in motion by the wind, appearing like flowing silk garments made of clouds."

26. "Weapons such as clubs, spears, tridents, and hammers — fierce and sharp — seemed to surround the scene like destructive forces ready to dissolve the weary world."

27. "Time, like a dark noose cast from its hand, bound all in the long chain of worldly existence. Upon this noose gleamed a garland, strung with the grand serpent of Śeṣa as its thread."

28. "Glowing with the radiance of jewels and crocodile-shaped ornaments on the living beings, a splendid string of seven-ocean bangles adorned the arms and chest as ornaments."

29. "A swirling whirlpool of worldly affairs, the unending sequence of pleasure and pain, formed a dark and dusty garland made of passion and ignorance that adorned this vision."

30. "At the end of the kalpa (Cosmic age), Time — appearing like the destructive Tandava of death — ends this dance that was jointly created with the great Lord Maheshvara."

31. "Then again, it unfolds into a playful dance — the form of creation — adorned with old age, sorrow, and suffering, as if these were its very jewels."

32. "Once more, it fashions worlds, forests, dimensions, and clusters of living beings — beautifully imagined forms of conduct and culture, both fixed and shifting — much like a child plays tirelessly with mud, creating again and again."

Summary of Teachings:

1. The World as a Dreamlike Vision:

These verses present a powerful poetic imagery of the Universe as a dazzling vision perceived in a moment of deep contemplation. Using elaborate metaphors — Himalayas as bones, earrings containing the sun and moon, Lokāloka 

mountains as waist-ornaments — the text illustrates how the entire cosmos appears as an ornamented body. This imagery implies that the phenomenal world is an internally projected illusion or dream-like appearance, not ultimately Real.

2. Nature of Māyā and Cosmic Ornaments:

The ornaments and weapons described are not literal but symbolic. They represent the various forces of nature and time — creation, sustenance, and destruction. The swaying ornaments, flashing like lightning, and garments like clouds suggest the transitory, insubstantial nature of worldly forms. Māyā (illusion) dresses up the formless Absolute in the colorful play of the elements and dualities of experience.

3. Time as the Great Binder and Destroyer:

Time (Kāla) is depicted as the wielder of bondage — casting nooses that tie beings into the long cycle of samsāra (worldly existence). Yet, this very Time is also the creator and destroyer of worlds. The image of Time collaborating with Maheshvara 

(Shiva) to create and dissolve the cosmic dance suggests that all phenomena are cyclic, impermanent, and rooted in cosmic rhythm.

4. Ornamentation of Sorrow and Duality:

Even suffering, old age, and sorrow are portrayed as ornaments of this cosmic dance. The chain of pleasure and pain, woven with rajas (activity) and tamas (inertia), forms the emotional texture of life. The world is not just adorned with beauty but also decorated with suffering, indicating that joy and pain are both part of the same divine play.

5. Creation as Play (Līlā):

The final verse powerfully asserts that the Universe is a child’s play — endless, effortless, and filled with imagination. Like a child repeatedly making mud structures without weariness, the creative Consciousness continually weaves and re-weaves the tapestry of Existence. This reveals the Yogic insight: that the entire world is a spontaneous projection of Consciousness, where bondage and liberation depend on one’s understanding of its illusory nature.

Chapter 1.25, Verses 11–22

Yoga Vashishtha 1.25.11–22

(Cosmic energy of Time as a dancing Goddess)

श्रीराम उवाच।

तस्या नर्तनलोलाया जगन्मण्डपकोटरे ।

अरुद्धस्पन्दरूपाया आगमापायचञ्चुरे ॥ ११ ॥

चारुभूषणमङ्गेषु देवलोकान्तरावली।

आपातालं नभोलम्बं कबरीमण्डलं बृहत् ॥ १२ ॥

नरकाली च मञ्जीरमाला कलकलोज्ज्वला ।

प्रोता दुष्कृतसूत्रेण पातालचरणे स्थिता ॥ १३ ॥

कस्तूरिकातिलककं क्रियासंख्योपकल्पितम् ।

चित्रितं चित्रगुप्तेन यमे वदनपट्टके ॥ १४॥

कालास्यं समुपादाय कल्पान्तेषु किलाकुला ।

नृत्यत्येषा पुनर्देवी स्फुटच्छैलघनारवम् ॥ १५ ॥

पश्चात्प्रालम्बविभ्रान्तकौमारभृतबर्हिभिः ।

नेत्रत्रयवृहद्रन्ध्रभूरिभाङ्कारभीषणैः ॥ १६॥

लम्बलोलजटाचन्द्रविकीर्णहरमूर्धभिः ।

उच्चरच्चारुमन्दारगौरीकबरचामरैः ॥ १७॥

उत्ताण्डवाचलाकारभैरवोदरतुम्बकैः ।

रणत्सशतरन्ध्रेन्द्रदेहभिक्षाकपालकैः ॥ १८॥

शुष्कशारीरखट्वाङ्गभरैरापूरिताम्बरम् ।

भीषयत्यात्मनात्मानं सर्वसंहारकारिणी ॥ १९ ॥

विश्वरूपशिरश्चक्रचारुपुष्करमालया ।

ताण्डवेषु विवल्गन्त्या महाकल्पेषु राजते ॥ २० ॥

प्रमत्तपुष्करावर्तडमरोड्डामरारवैः ।

तस्याः किल पलायन्ते कल्पान्ते तुम्बुरादयः ॥ २१ ॥

नृत्यतोऽन्तः कृतान्तस्य चन्द्रमण्डलभासिनः ।

तारकाचन्द्रिकाचारुव्योमपिच्छावचूलिनः ॥ २२ ॥

Sriram said:

11. "O Sage, within the grand theater of the Universe, that ever-dancing and restless energy sways—a force whose vibrations cannot be restrained, whose motion marks both the arrival and departure of worlds."

12. "Her limbs are adorned with beautiful ornaments, an array reflecting the splendor of celestial realms. Her vast hair, flowing down from the sky to the netherworld, forms a mighty canopy of locks."

13. "She wears anklets that resonate with a fearsome jingling sound, like a garland of hells, strung together by the thread of misdeeds, stationed on the very threshold of the underworld."

14. "Her forehead bears a fragrant musk mark, meticulously formed by the subtle arithmetic of karma, and inscribed upon the forehead-panel of Yama by Chitragupta, the cosmic scribe."

15. "With the gaping jaws of Time upon her, she becomes frenzied at the ends of aeons, dancing wildly with a roar that echoes through immovable mountains."

16. "Behind her sway plumes from youthful peacocks who have lost their way, while her triple eyes open vast and deep, terrifying with their tremendous expression."

17. "Her wild and swaying matted locks, adorned with the moon, scatter across the crowns of Shiva himself; they wave like royal fans made from the hair of the goddess Gaurī."

18. "As she rises in her Supreme Cosmic dance, the drums of Bhairava—the dreadful one—resound, while skull-bowls clatter from hundreds of severed Indras, rattling in fierce ecstasy."

19. "The sky is filled with the clatter of emaciated skeletal clubs and bones; she terrifies even herself, this all-consuming force of dissolution."

20. "She wears a garland of lotus-like heads in her universal form, whirling in her dance through the long cycles of Time, gleaming in her terrible splendor."

21. "In the thunderous whirlpools of her intoxicated dance, the damaru drums sound fiercely, and even celestial musicians like Tumburu flee at the end of the world-age."

22. "As she dances, Death himself moves within her, crowned with the light of the moon-disk, his trident adorned with the delicate feathers of starlit space and the soft grace of moonbeams."

Summary and Interpretation:

These verses present a vivid and terrifying personification of Cosmic energy as a dancing Goddess —an allegorical embodiment of Mahāmāyā or Kālaśakti, the power of Time and illusion (Maya). Her dance symbolizes the restless and cyclical nature of creation, preservation, and dissolution. This imagery underscores the idea that the Universe itself is a transient stage where appearances arise and dissolve endlessly under the sway of Time and karma.

She is adorned with the ornaments of Divine and infernal realms, pointing to her dominion over all levels of existence—from the heights of the heavens to the depths of the netherworlds. Her anklets made of hells and her hair stretching from sky to underworld suggest her all-encompassing reach, while the reference to karma and 

Chitragupta implies that all beings are bound by the consequences of their actions in this Cosmic theater.

The ferocity of her dance at the end of cosmic cycles (kalpa) is particularly emphasized—skulls of gods, roaring drums, and terrifying features evoke a vision of the universal dissolution (pralaya). Yet, there is also grandeur in her dance, a rhythm that echoes the underlying law of the cosmos, where even deities flee from her unstoppable force.

Through these symbols, the verses encourage the seeker to understand the impermanent nature of the world. All forms, powers, pleasures, and terrors arise from the same energy and dissolve back into it. The dance is not only of destruction but of change, a perpetual transformation governed by Time (Kāla) and witnessed by the Self (Ātman), which alone remains untouched.

Thus, these verses are both poetic and philosophical. They challenge the aspirant to perceive the dance of the world not with fear, but with detachment and insight. By recognizing the dancer behind the dance—the Consciousness that animates all—one transcends illusion and attains the wisdom of Realization (jñāna).

Chapter 1.25, Verses 1–10

Yoga Vashishtha 1.25.1–10

(Suffering of Beings caught in this Cosmic play)

श्रीराम उवाच।

अत्रैव दुर्विलासानां चूडमणिरिहापरः।

करोत्यत्तीति लोकेऽस्मिन्दैवं कालश्च कथ्यते ॥ १ ॥

क्रियामात्रादृते यस्य स्वपरिस्पन्दरूपिणः ।

नान्यदालक्ष्यते रूपं न कर्म न समीहितम् ॥ २ ॥

तेनेयमखिला भूतसंततिः परिपेलवा ।

तापेन हिममालेव नीता विधुरतां भृशम् ॥ ३ ॥

यदिदं दृश्यते किंचिज्जगदाभोगि मण्डलम् ।

तत्तस्य नर्तनागारमिहासावतिनृत्यति ॥ ४ ॥

तृतीयं च कृतान्तेति नाम बिभ्रत्सुदारुणम् ।

कापालिकवपुर्मत्तं दैवं जगति नृत्यति ॥ ५ ॥

नृत्यतो हि कृतान्तस्य नितान्तमिव रागिणः ।

नित्यं नियतिकान्तायां मुने परमकामिता ॥ ६ ॥

शेषः शशिकलाशुभ्रो गङ्गावाहश्च तौ त्रिधा ।

उपवीते अवीते च उभौ संसारवक्षसि ॥ ७ ॥

चन्द्रार्कमण्डले हेमकटकौ करमूलयोः।

लीलासरसिजं हस्ते ब्रह्मन्ब्रह्माण्डकर्णिका ॥ ८ ॥

ताराबिन्दुचितं लोलपुष्करावर्तपल्लवम् ।

एकार्णवपयोधौ तमेकमम्बरमम्बरम् ॥ ९ ॥

एवंरूपस्य तस्याग्रे नियतिर्नित्यकामिनी ।

अनस्तमितसंरम्भमारम्भैः परिनृत्यति ॥ १० ॥

Sriram said:

1. "O Sage, among the evils of this world, there is no greater ornament of cruelty than this force which consumes all—it is called fate or Time."

2. " Apart from its ceaseless movement, self-propelled and without conscious action or desire, nothing can be observed of it—no shape, no intention, no act."

3. " By its influence alone, all Beings of this Universe are brought to a state of affliction, like the snowy Himalayas scorched by heat, consumed by intense misery."

4. "Whatever is seen in this world, this entire realm of experience, is nothing but the grand stage where this Time-Force performs its Cosmic dance."

5. "Time bears a terrifying name—“The Ender” (Kṛtānta)—and takes on the dreadful appearance of a mad ascetic, a skull-bearing dancer, drunken and wild, spinning in the theatre of the world."

6. "In his wild dance, he appears as if passionately united with his eternal consort, Destiny (Niyati), like a fervent lover, ever attached and ever aroused."

7. "Time is adorned with ornaments: the pure white crescent moon and the river-bearing serpent Śeṣa, worn like sacred threads, decorating the chest of this cosmic being—the world."

8. "In the orbs of the sun and moon, he wears golden bracelets upon his hands, and in his palms lies the playful lotus—the very core of the cosmic egg, the essence of creation."

9. "He is clad in the vast garment of sky, and holds in his single ocean-like body all waters, adorned with stars and whirling lotuses, ever restless and vibrant."

10. "Before this Cosmic Being, Destiny, the eternal beloved, dances with unstoppable passion, initiating endless beginnings and efforts, never resting, never ceasing."

Summary of the Teachings in These Verses:

These ten verses from the Yoga Vāsiṣṭha present a striking and poetic personification of Time (Kāla) and Destiny (Niyati) as the Ultimate governing principles of the Cosmos. Time is depicted as an omnipresent and unstoppable force— self-driven, unperceivable in its essence, and devoid of intention, yet behind all activity, transformation, and destruction in the universe. It is not just mechanical; it is portrayed as a wild, terrifying, and mysterious dancer in the theatre of life, acting out the inexorable destiny of all beings.

The imagery used—of Time as the ascetic dancer bearing skulls, intoxicated and dancing with his consort Destiny—serves to highlight the inseparability of Cosmic order and inevitable change. Time and Destiny are shown as eternal lovers engaged in a perpetual dance, symbolizing the relentless movement of creation and dissolution. This pairing also hints at the idea that all outcomes and events in the Universe are predetermined and bound to unfold through the law of causality and Divine rhythm.

The verses speak to the suffering of beings caught in this Cosmic play. Just as snow melts under unexpected heat, all life, however stable or noble, is vulnerable to the scorching passage of Time. The beauty, order, and grandeur of the Cosmos are not denied—in fact, they are deeply revered—but they are all seen as part of a larger choreography beyond human control.

Further, the description of celestial ornaments—the moon, sun, stars, and rivers—emphasizes the universality of Time’s domain. All elements of nature, from macrocosmic spheres to delicate lotuses, are part of this Cosmic dancer’s body. This vivid visualization reminds the seeker of the vastness and interconnectedness of all things within this ever-moving Reality.

Ultimately, these verses point toward a deep metaphysical insight central to the Yoga Vāsiṣṭha: that liberation lies in understanding the nature of Time and Destiny not as external tyrants but as expressions of the Self’s own dreamlike projection. The path of wisdom lies in transcending their apparent power through inquiry, discrimination, and inner awakening, rather than being swept helplessly in their dance.

Chapter 1.24, Verses 1–10

Yoga Vashishtha 1.24.1–10

(Time, the central force behind the workings of Saṁsāra)

श्रीराम उवाच ।

अस्योड्डामरलीलस्य दूरास्तसकलापदः ।

संसारे राजपुत्रस्य कालस्याकलितौजसः ॥ १ ॥

अस्यैवाचरतो दीनैर्मुग्धैर्भूतमृगब्रजैः ।

आखेटकं जर्जरिते जगज्जङ्गलजालके ॥ २ ॥

एकदेशोल्लसच्चारुवडवानलपङ्कजा ।

क्रीडापुष्करिणी रम्या कल्पकालमहार्णवः ॥ ३ ॥

कटुतिक्ताम्लभूताद्यैः सदधिक्षीरसागरैः ।

तैरेव तैः पर्युषितैर्जगद्भिः कल्ववर्तनम् ॥ ४ ॥

चण्डी चतुरसंचारा सर्वमातृगणान्विता ।

संसारवनविन्यस्ता व्याघ्री भूतौघघातिनी ॥ ५ ॥

ज्ञध्वी करतले ज्ञथ्वी पानपात्री रसान्विता ।

कमलोत्पलकह्लारलोलजालकमालिता ॥ ६ ॥

विरावी विकटास्फोटो नृसिंहो भुजपञ्जरे ।

सटाविकटपीनांसः कृतः क्रीडाशकुन्तकः ॥ ७ ॥

अलाबुवीणामधुरः शरद्व्योमलसच्छविः ।

देवः किल महाकालो लीलाकोकिलबालकः ॥ ८ ॥

अजस्रस्फूर्जिताकारो वान्तदुःखशरावलिः।

अभावनामकोदण्डः परिस्फुरति सर्वतः ॥ ९ ॥

अनुत्तमस्त्वधिकविलासपण्डितो भ्रमच्चलन्परिविलसन्विदारयन् ।

जरज्जगज्जनितविलोलमर्कटः परिस्फुरद्वपुरिह काल ईहते ॥ १० ॥

Sriram said:

1. "The calamities that plague the world are far removed from this wild and fantastic play of Time, which dances within the forest of worldly existence as the prince of illusion and unfathomable power."

2. "While Time moves about freely, the innocent and ignorant beings—like bewildered animals of the forest—are hunted and torn apart in this tangled jungle that is the world."

3. "This grand ocean of Time, like a beautiful lotus-filled play-lake, glows with the fires of dissolution in a single region, though its charm spans the entire age of the cosmos."

4. "The world is but a dish of ever-fermenting flavors—bitter, pungent, sour—drawn from the elemental ocean of curd, milk, and salt; and beings consume it, not knowing it is decayed."

5. "Time is like the fierce goddess Chaṇḍī, roaming with her retinue of all-devouring Mothers in the wilderness of saṁsāra, slaughtering the hosts of beings as a tiger does its prey."

6. "The Earth herself lies as a bowl on the palm of Time, mixed with all the tastes and decorated with webs of lotuses, water lilies, and waving tendrils."

7. "Time has become a terrible lion, roaring dreadfully, locked in a cage of arms, with a thick and fearsome mane—playing with the world as if it were a helpless bird."

8. "Sweet as the music of a gourd-veena and radiant as the autumn sky, the great god Time appears as a delightful child-cuckoo, though he is verily the terrifying Mahākāla."

9. "Time, who is everywhere active, ceaselessly shoots out volleys of pain-tipped arrows of misfortune and wields the bow of negation, which he draws in all directions."

10. "Supreme in his mastery of illusion, skilled beyond comparison in the play of creativity, Time dances and spins, tears apart the decaying world like a frenzied monkey, manifesting in a form that vibrates with unstoppable momentum."

Summary of Teachings:

These verses present a vivid and poetic exposition of kāla (Time) as the central force behind the workings of saṁsāra—the cyclical world of birth, death, and suffering. Time is not merely an abstract concept but is anthropomorphized as a mighty and mysterious force that governs all activity, change, and destruction in the cosmos. It is depicted as powerful, playful, fierce, and all-consuming, bringing both delight and devastation.

The imagery used in these verses is deeply symbolic and rich in metaphor. Time is likened to a hunter, goddess, lion, and even a playful child. These depictions serve to show that Time does not discriminate; it envelops all beings in its drama—regardless of their knowledge, power, or ignorance. Every form, flavor, and experience in the world is but an expression of Time’s vast and ungraspable play.

One of the central teachings here is the illusory nature of worldly pleasures and sufferings. Beings are shown as helpless and unaware—caught in a jungle of illusions where Time hunts without pause. The world, despite its beauty and complexity, is presented as ultimately ephemeral, flavored with suffering, and incapable of offering lasting satisfaction.

The verses also introduce the concept of Mahākāla—the Great Time or the Ultimate Destroyer. Even the Divine is portrayed as subservient to Time, which can appear gentle and sweet, yet hides within it the ferocity of dissolution. Through such portrayals, the text aims to shake the reader’s attachment to the world and inspire a deeper inquiry into what lies beyond this Cosmic game.

In summary, these verses urge the seeker to recognize the impermanence and deceptive allure of worldly existence governed by Time. Only through deep wisdom, inner stillness, and detachment from the world’s constant flux can one transcend the suffering and discover the changeless essence—the Self—beyond the reach of Time.

Chapter 1.23, Verses 35–45

Yoga Vashishtha 1.23.35–45

(Time, the veil and the revealer)

श्रीराम उवाच ।

गृहीत्वा कृपणः कृष्णां रजनीं जीर्णमार्जनीम् ।

आलोककनकक्षोदानाहरत्यभितो गिरिम् ॥ ३५ ॥

संचारयन्क्रियाङ्गुल्या कोणकेष्वर्कदीपिकाम् ।

जगत्सद्मनि कार्पण्यात्क्व किमस्तीति वीक्षते ॥ ३६ ॥

प्रेक्ष्याहर्विनिमेषेण सूर्याक्ष्णा पाकवन्त्यलम् ।

लोकपालफलान्यत्ति जगज्जीर्णवनादयम् ॥ ३७ ॥

जगज्जीर्णकुटीकीर्णानर्पयत्युग्रकोटरे ।

क्रमेण गुणवल्लोकमणीन्मृत्युसमुद्गके ॥ ३८ ॥

गुणैरापूर्यते यैव लोकरत्नावली भृशम्।

भूषार्थमिव तामङ्गे कृत्वा भूयो निकृन्तति ॥ ३९ ॥

दिनहंसानुसृतया निशेन्दीवरमालया।

तारकेसरयाजस्रं चपलो वलयत्यलम् ॥ ४० ॥

शैलार्णद्युधराशृङ्गजगदूर्णायुसौनिकः ।

प्रत्यहं पिबते प्रेक्ष्य तारारक्तकणानपि ॥ ४१ ॥

तारुण्यनलिनीसोम आयुर्मातङ्गकेसरी।

न तदस्ति न यस्यायं तुच्छातुच्छस्य तस्करः ॥ ४२ ॥

कल्पकेलिविलासेन पिष्टपातितजन्तुना।

अभावो भावभासेन रमते स्वात्मनात्मनि ॥ ४३ ॥

कर्ता भोक्ताथ संहर्ता स्मर्ता सर्वपदं गतः ॥ ४४ ॥

सकलमप्यकलाकलितान्तरं सुभगदुर्भगरूपधरं वपुः ।

प्रकटयन्सहसैव च गोपयन् विलसतीह हि कालबलं नृषु ॥ ४५ ॥

Sriram said:

35. "The pitiful man, having grasped the dark, worn-out broom of night, circles the mountain of existence, sweeping it with the dust of ignorance."

36. With his fingers of action, he twirls the lamp of the sun's light in all directions, and in his delusion, examines the vast mansion of the world, asking, "What is this? Where is that?"

37. "In the blink of an eye, the sun consumes the ripe fruits of day—those that are like offerings of the guardians of the world—and devours this world, likened to an ancient forest."

38. "Time, like a ferocious being dwelling in a dark cave, gradually swallows all—the mansions of the world, worn and broken—storing the jewels of virtues in the chest of death."

39. "It adorns itself with the shining garland of the world’s virtues and ornaments, as if for beautification, only to sever them again without remorse."

40. "With the garland of blue lotus-like nights trailing behind the swan of day, the fickle Time twirls the eternal stars and the radiance of the sun like bangles on its arms."

41. "Like a wild hunter who feasts on the mountain peaks, rivers, oceans, and all the world’s forms, Time greedily drinks in the glowing particles of stars each day."

42. "Time is the lion who devours the moon-like lake of youth and the elephant of life-force. There is nothing so great or so petty that it escapes this thief."

43. "With the sportful delight of the cosmic cycle, it grinds beings into nonexistence while making nonexistence appear as if Real, delighting in its own self through illusion."

44. "It is the doer, the enjoyer, the destroyer, the rememberer, and the one who passes through all states of Being."

45. "It reveals and conceals simultaneously the whole, the parts within the parts, the beautiful and the dreadful—all of which manifest as the power of Time in human beings."

Summary of Teachings:

These verses from the Yoga Vāsiṣṭha present a vivid poetic meditation on Time (Kāla) and its all-consuming, illusory, and Divine Nature. Time is described not just as a linear measure but as an active cosmic force—sweeping away creation like a worn broom over dust, inspecting the world with a lamp of sunlight, and ultimately consuming all phenomena in a great cycle of rise and dissolution. This dramatization serves to awaken a profound sense of impermanence and existential introspection.

Time is personified as a powerful entity—a thief, a hunter, a lion—that feeds upon youth, virtue, mountains, rivers, and even stars. Nothing is exempt from its reach. Whether noble or petty, everything is subject to its devouring rhythm. In this portrayal, Time is not merely a backdrop but an active agent of change, devouring the apparent solidity of the world while playing with its fleeting beauty.

Despite its destructive aspect, Time is also shown to have a paradoxical role—it creates and destroys, reveals and conceals, adorns and cuts away. This reflects the deeper Advaitic insight: that what appears to be multiplicity and movement is in fact a play of appearances upon the changeless Self. Time, then, becomes both the veil and the revealer, a force that leads either into bondage through ignorance or into liberation through wisdom.

The illusory nature of existence is emphasized: Time causes the unreal to appear Real and makes Beings believe in what is ultimately insubstantial. The Self, untouched by Time, watches this dance unfold, and the wise are those who turn inward to witness this without getting entangled.

Ultimately, these verses aim to cultivate vairāgya (dispassion) and viveka (discernment) in the listener or reader. By confronting the power and pervasiveness of Time, and understanding that all worldly phenomena are subject to its flux, the seeker is encouraged to turn away from transient pleasures and attachments and instead seek the eternal, unchanging Reality—the Self (Ātman)—which alone endures beyond the reach of Time.

Chapter 1.23, Verses 23–34

Yoga Vashishtha 1.23.23–34

(Time, an expression of the Self)

श्रीराम उवाच।

अस्योड्डामरवृत्तस्य कल्पान्तेऽङ्गविनिर्गतैः ।

प्रस्फुरत्यम्बरे मेरुर्भूर्जत्वगिव वायुभिः ॥ २३ ॥

रुद्रो भूत्वा भवत्येष महेन्द्रोऽथ पितामहः।

शक्रो वैश्रवणश्चापि पुनरेव न किंचन ॥ २४ ॥

धत्तेऽजस्रोत्थितोद्ध्वस्तान्सर्गानमितभास्वरान् ।

अन्यान्दधद्दिवानक्तं वीचीरब्धिरिवात्मनि ॥ २५ ॥

महाकल्पाभिधानेभ्यो वृक्षेभ्यः परिशातयन् ।

देवासुरगणान्पक्वान्फलभारानिव स्थितः ॥ २६ ॥

कालोऽयं भूतमशकघुंघुमानां प्रपातिनाम् ।

ब्रह्माण्डोदुम्बरौघानां बृहत्पादपतां गतः ॥ २७ ॥

सत्तामात्रकुमुद्वत्या चिज्ज्योत्स्नापरिफुल्लया ।

वपुर्विनोदयत्येकं क्रियाप्रियतमान्वितः ॥ २८ ॥

अनन्तापारपर्यन्तबद्धपीठं निजं वपुः ।

महाशैलवदुत्तुङ्गमवलम्ब्य व्यवस्थितः ॥ २९ ॥

क्वचिच्छयामतमःश्यामं क्वचित्कान्तियुतं ततम् ।

द्वयेनापि क्वचिद्रिक्तं स्वभावं भावयन् स्थितः ॥ ३० ॥

संलीनासंख्यसंसारसारया स्वात्मसत्तया ।

उर्व्येव भारघनया निबद्धपदतां गतः ॥ ३१॥

न खिद्यते नाद्रियते नायाति न च गच्छति ।

नास्तमेति न चोदेति महाकल्पशतैरपि ॥ ३२ ॥

केवलं जगदारम्भलीलया घनहेलया ।

पालयत्यात्मनात्मानमनहंकारमाततम् ॥ ३३ ॥

यामिनीपङ्ककलितां दिनकोकनदावलीम् ।

मेघभ्रमरिकामात्मसरस्यारोपयन्स्थितः ॥ ३४ ॥

Sriram said:

23. "At the end of the kalpa (cosmic cycle), this vast universe is tossed about by winds emerging from the dismembered cosmic body, and Mount Meru quivers in the sky like birch bark fluttering in the breeze."

24. "That same being becomes Rudra (Śiva), then Indra, then Brahmā. He becomes Kubera (Vaiśravaṇa), and then again reverts to Absolute Nothingness."

25. "He bears the radiant worlds that rise and fall from the unborn stream (of Consciousness), sustaining day and night within himself like waves in the ocean."

26. "Standing firm like a tree heavy with ripened fruits, he shakes down the Divine and demonic hosts from the Cosmic trees named the Great Kalpas."

27. "This time-force, resonant with the cries of perishing beings, marches on like a massive tree of death, uprooting multitudes of Cosmic clusters (brahmāṇḍas) like fig fruits falling from a banyan tree."

28. "His form alone gleams, adorned with the moonlight of Consciousness and blossomed by the water-lilies of Pure Being, filled with love for action."

29. "He upholds his own immense form, vast and boundless, as if seated upon a throne stretching beyond limits—like a towering mountain supporting itself."

30. "At times his form is darkened with ignorance like the night, at times radiant with light, and at other times devoid of both—he abides in Awareness of his own nature."

31. "Countless worlds have merged into the essence of his own being—just as the earth bears the weight of dense mountain masses, he upholds them all in his Existence."

32. "He neither grieves nor esteems anything, neither arrives nor departs; he neither sets nor rises, not even over the course of hundreds of great aeons (mahākalpas)."

33. "Solely through the playful gesture of beginning this world-drama, he sustains himself within himself—devoid of all ego."

34. "He stands as the sun within the self-lake, adorning it with day-lotuses despite the mud of night and the swarm of clouds and bees— Pure, unwavering, and serene."

Summary of the Teachings:

These verses from the Yoga Vāsiṣṭha explore the subtle and majestic presence of the Cosmic Self (Ātman or Pure Consciousness) as it manifests, sustains, and dissolves the Universe. The Cosmic process is depicted as a grand play of transformation—where the formless Self adopts various Divine roles such as Rudra, Indra, Brahmā, and Kubera, only to return to its original, untouched nature. The imagery of Mount Meru trembling, worlds emerging like waves, and beings falling like fruit suggests the ephemeral nature of existence within the infinite expanse of Consciousness.

Time (Kāla) is presented as an impersonal force, devouring worlds while remaining itself unborn and indestructible. Yet it too is only an expression of the Self. The Self supports all creation effortlessly, likened to a vast mountain or a Cosmic ocean, with worlds rising and falling like waves or blossoms. This Grand Cosmic process arises without any personal motivation, ego, or need—simply as an expression of the Self’s inherent capacity.

The Self is unchanging, unmoving, beyond sorrow or delight. It does not come or go, does not rise or set like celestial bodies, and is not subject to the cyclic laws of creation or destruction. Even through countless mahākalpas, the Self remains beyond time and space, untouched by the movements it gives rise to. This teaches the yogic view that true being is not affected by the flux of creation.

Despite its Transcendence, the Self creates and sustains the Universe as a kind of Divine sport—līlā—without ego or attachment. It upholds the world within itself effortlessly, just as the ocean bears the rising and falling of its waves. The metaphor of the lotus blooming in a muddy pond, under the sunlight of the Self, reveals the possibility of spiritual awakening even within the apparent darkness of worldly life.

Ultimately, these verses urge the seeker to recognize the Self as the only true substratum— Pure Awareness that manifests all forms yet remains beyond all forms. Understanding this helps dissolve identification with transient phenomena and awakens one to the serene, unbounded Reality of one's own Nature, which is ever-free, ever-present, and all-encompassing.

Chapter 1.23, Verses 12–22

Yoga Vashishtha 1.23.12–22

(The seemingly real illusion of Time)

श्रीराम उवाच।

भिनत्ति प्रविभागस्थभूतबीजान्यनारतम्।

जगत्यसत्तया बन्धाद्दाडिमानि यथा शुकः ॥ १२ ॥

शुभाशुभविषाणाग्रविलूनजन पल्लवः।

स्फूर्जति स्फीतजनताजीवराजीवनीगजः ॥ १३॥

विरिञ्चिमूलब्रह्माण्डबृहद्देव फलद्रुमम् ।

ब्रह्मकाननमाभोगि परमावृत्य तिष्ठति ॥ १४ ॥

यामिनी भ्रमरापूर्णा रचयन्दिनमञ्जरीः ।

वर्षकल्पकलावल्लीर्न कदाचन खिद्यते ॥ १५ ॥

भिद्यते नावभग्नोऽपि दग्धोऽपि हि न दह्यते ।

दृश्यते नापि दृश्योऽपि धूर्तचूडामणिर्मुने ॥ १६ ॥

एकेनैव निमेषेण किंचिदुत्थापयत्यलम् ।

किंचिद्विनाशयत्युच्चैर्मनोराज्यवदाततः ॥ १७ ॥

दुर्विलासविलासिन्या चेष्टया कष्टषुष्टया ।

द्रव्यैकरूपकृद्रूपं जनमावर्तयन्स्थितः ॥ १८ ॥

तृणं पांसुं महेन्द्रं च सुमेरुं पर्णमर्णवम्।

आत्मंभरितया सर्वमात्मसात्कर्तुमुद्यतः ॥ १९ ॥

क्रौर्यमत्रैव पर्याप्तं लुब्धतात्रैव संस्थिता।

सर्वदौर्भाग्यमत्रैव चापलं वापि दुःसहम् ॥ २० ॥

प्रेरयँल्लीलयार्केन्दू क्रीडतीव नभस्तले।

निक्षिप्तलीलायुगलो निजे बाल इवाङ्गणे ॥ २१ ॥

सर्वभूतास्थिमालाभिरापादवलिताकृतिः ।

विलसत्येव कल्पान्ते कालः कलितकल्पनः ॥ २२ ॥

Sriram said:

12. "Just as a parrot cracks open pomegranate fruits without fail, the mind continually splits the elemental seeds residing in duality, giving rise to the illusion of the world and bondage."

13. "The elephant of worldly life, sustained by the life-force of beings, blossoms with the shoots of people whose horns of virtue and vice have been broken by experience."

14. "It stands like a grand divine tree bearing fruits of the vast universe, rooted in Brahma the Creator, and overshadowing even the forest of Supreme Knowledge."

15. "Like a night overflowing with black bees, it continually produces the flowers of day—festooned with endless cycles of Time, yet it never tires."

16. "It is not cut though struck, not sunk though broken, not burned though scorched, and not seen though visible—this mysterious gem of illusion, O Sage."

17. "In the blink of an eye, it can raise one thing up and destroy another, much like a fantasy kingdom crafted by the mind’s imagination."

18. "With the harsh play of mischief-loving fickleness, it spins people into cycles of becoming, making them assume a single illusory form composed of mere matter."

19. "Whether it be a blade of grass, a speck of dust, mighty Indra, the vast Meru mountain, a leaf, or an ocean—this entity attempts to swallow all within itself."

20. "Here alone abide cruelty, greed, all misfortunes, and unbearable restlessness, as though they are all well established and thriving in one place."

21. "Like a child playing in his courtyard with the sun and moon as toys, it stirs them playfully across the sky, as if for sport."

22. "At the end of an age, Time—imagined and personified—dances adorned with garlands of the bones of all beings, its form reaching from foot to crown."

Summary of Teachings:

These verses present a striking poetic vision of the illusory nature of cosmic manifestation. 

The mind or māyā is depicted as the central force responsible for perpetuating the world through constant fragmentation and projection of elemental seeds, much like a parrot persistently breaking open fruits. This imagery symbolizes how thought and perception perpetuate bondage through endless division and duality.

The world is likened to a grand, ever-flowering tree rooted in cosmic creativity, yet shrouded in illusion. It displays vigor and diversity, teeming with beings and events, but all under the veil of avidyā (ignorance). The creative energy is depicted as tireless, cyclic, and all-consuming, illustrating how Time and change dominate worldly existence without fatigue or limit.

Despite being seemingly real and powerful, this illusion cannot be grasped, destroyed, or contained. Its resilience and inscrutability are emphasized—burned but unburnt, broken but whole, invisible yet seen. Such metaphors highlight the paradoxical nature of māyā, which defies empirical Reality and logic.

The mind's playful capacity to create and destroy entire realms, like a child with toys, illustrates the fickle and arbitrary nature of creation. It generates suffering, desire, and delusion, manipulating forms and beings into cycles of existence through appearances and experiences, which are all ultimately unreal.

Finally, the figure of Time as a Cosmic devourer crowned with the bones of beings paints a chilling but vivid picture of impermanence. The verses emphasize that all creation—however grand—is subject to dissolution, and that Time, though imagined, reigns supreme in this illusory drama. The teaching here guides the seeker to recognize the unreality of the perceived world and the mind’s power in projecting it, urging a shift toward the Eternal, formless Truth beyond illusion.